In a surprising twist on the road to the Oscars, Greta Gerwig’s highly anticipated film ‘Barbie’ has encountered a setback. Initially positioned as a contender for Best Original Screenplay, the movie, widely expected to secure nominations in top categories like Best Picture, has now been shifted to the Adapted Screenplay category.
Variety brought attention to this deviation from the film’s original campaign strategy, revealing that the Writers Guild of America (WGA) had initially classified ‘Barbie’ as an original work. This classification will remain unchanged for the upcoming WGA Awards. However, the Academy’s executive committee has wielded its discretion to reclassify the screenplay as adapted, altering the film’s prospects at the Oscars just ahead of the voting, set to commence on January 11.
Greta Gerwig, the acclaimed filmmaker behind the project, addresses whether Ken’s role was specifically crafted for Ryan Gosling.
‘Barbie’ introduces characters deeply rooted in the history of Mattel dolls, placing it among a roster of films featuring pre-existing characters classified as adapted screenplays at the Oscars. Notable predecessors in this category include ‘Toy Story 3,’ ‘Borat 2,’ ‘Before Sunset,’ and ‘Before Midnight.’
This isn’t the first instance of an Oscar favorite having to switch categories. In 2016, Barry Jenkins’ ‘Moonlight’ faced a similar situation when movies campaigned as “original” by the WGA were moved to the adapted category by the Academy committee. Other noteworthy examples include ‘Syriana’ (2005) and ‘The Ballad of Buster Scruggs’ (2018).
The narrative of ‘Barbie’ revolves around the journey of the iconic character, portrayed by Margot Robbie, as she grapples with an identity crisis. This prompts her and Ken, played by Ryan Gosling, to venture into the real world in search of answers about her existence.
With ‘Barbie’ now competing in the adapted screenplay category, the landscape of the original screenplay Oscar race has undergone a significant shift. Films such as Celine Song’s ‘Past Lives’ and Alexander Payne’s ‘The Holdovers’ are emerging as potential frontrunners. Meanwhile, Todd Haynes’ ‘May December’ and Justine Triet’s ‘Anatomy of a Fall’ have garnered attention in the precursor circuit.
As the awards season progresses, this unexpected move sets the stage for an intriguing competition in the lead-up to the Oscars in 2024.
